Week 10 RAT
Thussu, Mapping Global Media Flow and Contra-Flow 1.According to Thussu, why have global media flows grown in direction, volume and velocity in recent decades? the glocalisation of US media products, content tailored to local needs for commercial reasons the privatisation & proliferation of TV outlets/channels a shift to media defined by consumer interest & transnational markets *all are true 2.Which is NOT part of Thussu's typology of global media flows? Geo-Cultural: caters to specific audiences (may be scattered across the world, e.g. diasporic), but not necessarily defined by language *Indigenous: originating in & characteristic of a particular country Transnational: a strong regional presence but also aimed at audiences beyond their primary constituency Global: have regionalised and localised their content to extend their reach across the world and create the 'global popular' 3.Thussu's analysis largely ignores the audience and media content, that content; i.e. can be interpreted differently by different audiences focuses on global media flows, particularly of TV and film explores how the rest of the world relates to, adopts and/or adapts Western media genres/ formats *all are true 4.Which is FALSE? Why are transnational and geo-cultural flows increasing? the digitisation of technology *none are false population movements, partly because of economic globalisation (e.g. of professional workers & students state or government-supported policies and initiatives 5.According to Thussu, 'dominant' global flows are promoting a global, hybridised Americana can encompass both transnational and geo-cultural flows are primarily North to North (i.e. US to Europe) *all are true 6.Which is FALSE? According to Thussu, 'subaltern' or contra flows have become increasingly important in the circulation of cultural products show that global media traffic is not just one way, even though traffic is disproportionately weighted help in the articulation and formation of identity *none are false 7.Which is FALSE? Thussu argues for caution against the tendency to valorize/celebrate the rise of non-Western media that changes in the direction of flows may simply be a refiguring of hegemony, i.e. through the legitimising of privatised, free-market capitalism *that the South is becoming more dominant in global media flows that there are large disparities in the volume and economic value of media flows Katsuno & Maret, Localising the Pokemon TV Series for the American Market 8.Which is FALSE? The localisation of Pokemon for America was influenced by political, economic & historical discourses within and between Japan and the West *was not required because US and Japan share many televisual and discursive codes is a process of adapting a global product for a specific market, i.e. America was influenced by sociocultural differences between America & Japan 9.Which is FALSE? According to Katsuno & Maret, the translation/localisation of Pokemon shows power in East-West relations is not so clear cut; e.g. Japan is influencing the look and content of Hollywood was facilitated & complicated by cultural hybridity inherent in mediascapes of increasingly interconnected world *shows Japan and the West are mutually incomprehensible, autonomous or distinct is part of an ongoing dialogue, they increasingly share aesthetic traditions, cinematic codes, frames of reference & intertextual assumptions 10.Which claim is NOT fully supported by Katsuno & Maret? Translation (& power) indicates Hollywood's domination is extending to localisation & global marketing of foreign cultural goods is influenced by fans; producers/authors have power but not exclusive control over global circulation the original aesthetic & 'cultural odour' is retained (in spite of translation) *is ethnocentric and racist, it reinforces unequal power relations between source and target cultures